Chuck Nessa

I have a huge "soft spot" for Ike. A favorite recording is Deep In A Dream on Sonny Clark's Leapin' and Lopin. Very interesting to compare this with Mobley's (and Clark's) performances 4 years earlier on Hank's Curtain Call date.

I think the Ballad date is the cream of the Criss Cross Marsh stuff. I think Jim was saying that. I stopped my survey of Marsh recordings (earlier in this thread) because as we got out of the '50s we reached an area where I was in the position of dealing with sessions and producers "in competition" with me and I could understand others reacting by dismissing my complaints or ignoring worthy sessions I had something to complain about. "Star Highs" is a problematic date for me. Warne plays well as does Hank, but the producer in me has a problem with balances and aspects of Mraz's and Mel Lewis's sound. I would have done it differently. I don't think Warne hits the highs he could, but he makes no mistakes and ALL of his recordings are worth serious study. I do know he was happy with this date. He told me a number of his "best fans" were delighted he made a record with "another master" - Hank Jones. Please don't ignore the Chet Baker CC date called Blues For A Reason. Chet, Warne, Hod O'Brien, Cecil McBee and Eddie Gladden. See why I stopped my survey? I want you to buy them ALL!

Chris, remember I drug in Bach and stuff - the time frame stretches and recent times seem less significant.

Lots of good advice - I just want to reinforce recommendations for Coltrane (Impulse) and Interstellar Space. These come from near the beginning and end of the Impulse years. On Prestige I would add Settin' the Pace to your list.

I came to jazz as an early rock fan - Little Richard, Elvis, Jerry Lee Lewis, Fats Domino, etc. My dad gave me an Ellington record and asked to hear it (from my room) once a week. I liked it and went to the nearest music store to find more. That store was Eshbach's in Ames, Iowa. Ellington was in the "jazz" section which contained maybe 60 sides. I started buying them. Within 6 months I bought Miles, Armstrong Hot 5s, Rollins, the Elgart Bros, Johnny Dodds, Four Freshmen, Basie, Monk, Lunceford, and lots of Duke. All this music was the SAME to me. Recorded in 1924 or yesterday did not make a difference - this stuff interested me and I needed more. When I went to college I took a music appreciation class led by a wonderful man named Eldon Obrecht. He taught us about Bach, Beethoven, Bartok, Schoenberg, Webern, Carter, etc. He also brought in Gunther Schuller in as a guest lecturer. I worked up the nerve to ask Mr Obrecht if I could have some time to play some records for him. For some reason he agreed and I played a bunch of jazz stuff for him. When I was finished he told me about his "leaves" during WWII when he went to 52nd St to hear Tatum and Hawkins. Bob Koester, Delmark/Jazz Record Mart, introduced me to blues. I had personal experiences with Sleepy John Estes, Bukka White, Big Joe, Roosevelt Sykes, Little Brother, Otis Rush, Muddy, Otis Spann, Wolf, JB Hutto, Junior Wells, Buddy Guy, etc. After all this experience, I know there is more great music out there than I can ever absorb and as a result I refuse to knuckle under to the second rate. I continue searching for more, new, beautiful sounds and pray that I might add to this list, rather than diminish it. Chris says there was "less to catch up with" when he started but I disagree. Much more (beautiful, important and pleasurable music) in the past exists for all of us and the current time (and the future) is a small step to take. Music is an endless adventure. Thank God for that.

please come back regularly. I will miss the damn cat and your messages.

From my perspective, this was the best of Jackie's working bands (not many of those). I am not a big Moncur fan and admire some of these dates in spite of GM III. Not a JJ fan either - so shoot me.

Hey, Dan. If that's the way you feel, that's fine. I have been restraining myself for a couple of weeks now. I think you are one stupid fuck and you delight in demonstrating it at every opportunity. Good bye.

Dan, I share your enthusiasms. I'm just bummed my discussions with you are restrained by your small area of concern. It is a big world out there.

I don't know if the BN mastering is different from the Mosaic. Just get the damn disc. I've had both and never had any complaints. I was thankful.

From this and other boards or discussion groups I've learned thousands of "jazz fans" are limited by narrow style restrictions and by what has been issued on cd. This is a huge "bummer" for me. I have based my life on the "exploratory nature" of the human animal. This may have been a big mistake. I don't understand people discussing the details of Lee Morgan records without knowing their Keppard, Armstrong, Smith(s), Eldridge, Gillespie, Cherry, Bowie, etc- let alone other musics. If you profess to "like music", why only a "snapshot of history". This is like my dad only interested in the Swing of the late '30s and '40s. This kind of interest is not about music, but about some sort of personal "reaffirmation" like reliving your youth. Maybe in the next life.

I think this is funny, since I believe Miles (in about the last 3rd of his career) was trying to become (something like) Snoop.

Not dubbed from vinyl, but the original "acetate" discs from the session. BN and Mosaic went to considerable trouble and expense to source the original masters. It ain't gonna sound better. Don't ignore the Ammons titles AND I suggest, after digesting this disc, get the 3 Lewis discs and the 3 Ammons discs on Classics. This will fill out the picture. Some of the great music of the 20th century and the music causing Alfred Lion to create Blue Note.

Seems like at least half the solos I admire are "abrasive". I've had Trickles since it was first released, in the mid '70s, and bought the cd as well. A very nice date for me.

I was a French girl with an enchanting, "slight" lisp.

Flugelhorn.

I think 223 was set aside for the Bobo Stensen box.

Phillip was a friend and I kept this along with his Moers and Hat Hut lps.

Sorry we can't be there tonight to celebrate with you, but Ann and I send our best wishes and great thanks your way.

Damn near everyone in North America is of mixed racial descent.

I posted this yesterday in the WAYLTRN thread.

This is on Stunt, so Pete should be able to supply it.

Phillip Wilson Trio, "Fruits" with Leo Smith and Johnny Dyani.

Yup, that was Fred Lonberg-Holm on the cello. Thanks for the ride Bill.

Welcome back Y'all!